Maria Adelaide Amaral’s work needs no introduction. In the first live held during the pandemic, the novelist and playwright talks to screenwriter Marta Nehring about the various facets of a work which moves with the same narrative efficiency from novel to soap opera.

Speakers

Maria Adelaide Amaral

Palestrante

Maria Adelaide Amaral

Palestrante

She was born in Portugal and emigrated to Brazil at the age of 12. With a degree in Journalism, she consolidated her career as a writer and playwright. Her work includes novels, more than twenty plays, eight miniseries and nine soap operas, both in collaboration and authorship. Throughout her career, she has collected awards, including: the Jabuti, for the novel Luisa; the Molière for the plays Bodas de Papel, Chiquinha Gonzaga, De Braços Abertos and Querida Mamãe; and the APCA for the miniseries A Muralha and A Casa das Sete Mulheres. In 2020, she was invited to take up chair 35 of the Academia Paulista de Letras.

Marta Nehring

Palestrante

Marta Nehring

Palestrante

Master in Literary Theory and PhD in Cinema from the University of São Paulo, she is a professor of audiovisual narrative and screenwriting at institutions such as Sesc, Academia Internacional de Cinema, B_arco and Faap. She received awards for the screenplay of the feature film Eu Eu Eu José Lewgoy (2009), by Claudio Kahns. Among other works as a screenwriter and script doctor, she collaborated on the soap operas Tititi, Sangue Bom and A Lei do Amor, by Maria Adelaide Amaral and Vincent Villari. She is a co-writer of the feature film Tudo o que Aprendemos Juntos (2015), by Sérgio Machado, and was head of scriptwriting for the History Channel series Mil Dias.

A special and unprecedented class, created by Jorge Furtado for this edition of BrPlot, in which investigates the origins of narrative premises. Between dreams and oracles, a Master Class with unmissable tips for the construction of the script, with mediation by Gustavo Gontijo.

Speakers

Jorge Furtado

Palestrante

Jorge Furtado

Palestrante

Director, producer and screenwriter, in the 1980s he co-founded the production company Casa de Cinema de Porto Alegre, through which he made short films that left their mark on Brazilian cinematography, such as Ilha das Flores (1989), and which earned him national and international awards and led him to be hired by Rede Globo as a screenwriter and director. He directed feature films such as O Homem que Copiava (2003) and Meu Tio Matou um Cara (2004). In 2012, he won the Emmy for Best Comedy Series with Amor de Mãe. He also created other important and popular series such as Sob Pressão and Amor e Sorte, a miniseries entirely filmed during the pandemic.

Gustavo Gontijo

Palestrante

Gustavo Gontijo

Palestrante

Executive Development Producer at O2 Filmes since January 2021, Gustavo Gontijo has a long career in the entertainment and development area. Before that, he worked at Globo (the largest content producer in Latin America) since 2000 when he was hired as an author/screenwriter. In 2014, with the creation of the Weekly Drama division dedicated to drama and comedy series, he was named its Content Manager. During his tenure, he helped conceive and develop hits such as the medical drama “Sob Pressão”, the adventure “Ilha de Ferro”, the drama about education “Segunda Chamada”, Brazil’s first big-budget supernatural drama “Supermax” (and its spin-off in Spanish), the comedy “Mister Brau”, the Emmy-nominated “All the Women in the World” and the best series of the year 2017, according to MIPDramas in Cannes, “Carcereiros”, in addition to twenty other programs, in a total of more than 30 seasons aired. Gustavo was also responsible for the international expansion of these programs, taking Globo series, for the first time, to the biggest international festivals of the format, such as Berlinale, TIFF, SXSW, Canneseries, Seriesfest and many others. Gustavo was also behind the conception and implementation of Casa dos Roteiristas, a physical space with 13 script rooms dedicated exclusively to the development, writing and production of series, with the greatest Brazilian screenwriters, such as Jorge Furtado, Bráulio Mantovani, George Moura, Cláudio Paiva, Marçal & Bonassi, Mauro Wilson, Lucas Paraizo, Antonio Prata and many others. From 2019 to 2020, he was content manager at Globo Filmes with a main focus on feature films.

Alexandre Machado is today one of the greatest Brazilian screenwriters. Next to your partner Fernanda Young revolutionized TV humor with series that left people sorely missed. Alexandre talks about his work and creative process with actress, director and writer Maria Ribeiro.

Speakers

Alexandre Machado

Palestrante

Alexandre Machado

Palestrante

A writer and scriptwriter for series and films for cinema and television, he worked for the newspaper “O Pasquim” and the advertising agency W/Brasil until he made his debut as a scriptwriter for the series TV Pirata in the late 1980s. Alongside his partner Fernanda Young, he wrote the scripts for the feature films Bossa Nova (2000) and Muito Gelo e Dois Dedos D’água (2006), as well as the series Os Normais and Os Aspones. He was one of the writers for the episode of the series Amor e Sorte, on Rede Globo, starring Taís Araújo and Lázaro Ramos.

Maria Ribeiro

Palestrante

Maria Ribeiro

Palestrante

Actress, writer and film director. As an actress, in addition to several plays, she has participated in soap operas and films such as Tropa de Elite (2007), Entre Nós (2013) and Como Nossos Pais (2017), for which she won the Best Actress award at the Gramado Film Festival. In 2020, she will debut in the series Desalma, written by Ana Paula Maia. She has already released three titles as a writer and is the director of documentaries such as Domingos (2009), about Domingos Oliveira. She was the host of the program Saia Justa, a columnist for the newspaper “O Globo” and currently writes for the magazine “Veja Rio”, in addition to being in a virtual season with the monologue “Pós-F”.

Filmmakers Kleber Mendonça Filho and Juliano Dornelles comment on the script writing process by Bacurau, winner of a dozen international awards, including the Jury Prize at the Cannes Film Festival. The conversation, led by screenwriter Thiago Dottori, addresses the project’s development stages until it transform into the images and sounds we see on the screen.

Speakers

Juliano Dornelles

Palestrante

Juliano Dornelles

Palestrante

Director, art director and screenwriter. Since 2004, he has worked as an art director and creative collaborator on projects by filmmakers such as Kleber Mendonça Filho, Daniel Bandeira, Marcelo Pedroso and Leonardo Lacca. As a director and screenwriter, in 2011 he premiered the short film Mens Sana In Corpore Sano at the Locarno Film Festival, winning the Special Jury Prize at the same event. Bacurau, which he co-wrote and co-directed with Kleber Mendonça Filho, won the Jury Prize at the Cannes Film Festival, among several other awards at international festivals such as Munich, Lima, Milan and Sitges, and reached the mark of 750 thousand spectators in Brazilian cinemas.

Kleber Mendonça Filho

Palestrante

Kleber Mendonça Filho

Palestrante

A graduate in Journalism from the Federal University of Pernambuco, he has a wide-ranging career as a critic, programmer and curator. His short films have received over 100 awards in Brazil and abroad. He made his feature-length debut with the documentary Crítico (2008), and in 2012 he released O Som ao Redor, his first fiction feature, which was shown at over 100 international festivals, commercially released in 14 countries and won 32 awards. Aquarius (2016), his second feature, premiered in competition at the Cannes Film Festival and was distributed in over 100 countries. He co-directed, with Juliano Dornelles, the feature Bacurau (2019), which won the Jury Prize at the Cannes Film Festival and was a huge success with critics and audiences.

Ana Paula Maia was already a renowned novelist when she was invited to develop Desalma, a series supernatural thriller recently premiered on Globoplay. On the border between literature and script, Ana Paula conversation with fellow writer and screenwriter Marcelo Rubens Paiva about sources of inspiration, creative process and projects under development.

Speakers

Ana Paula Maia

Palestrante

Ana Paula Maia

Palestrante

A writer and screenwriter, she is the author of seven novels, including Assim na Terra como Embaixo da Terra and Enterre Seus Mortos, both winners of the São Paulo Literature Prize for Best Book of the Year in 2018 and 2019, respectively. She is the author of the TV Globo and the series Desalma, which will be released in 2020 by Globoplay.

Marcelo Rubens Paiva

Palestrante

Marcelo Rubens Paiva

Palestrante

A writer, playwright, screenwriter and journalist, he published his first book, “Feliz Ano Velho”, in 1982. The book was translated into several languages ​​and became the best-selling Brazilian book of the 1980s. He received the Brazilian Academy of Letters award for the screenplay for Malu de Bicicleta (2010). In 2015, with the publication of the book “Ainda Estou Aqui”, he won the Jabuti Award and was nominated for the Governor of the State and Oceans awards, for which he is currently competing with “O Homem Ridículo”. In 2016, he won the same award with the children’s book “O Menino e o Foguete”.

Fanny Herrero, French actress and screenwriter, talks about her experience as showrunner of one of the biggest international successes on French television, the series Dix Pour Cent, gracefully set in a actors in Paris. In the series there is the participation of great stars of French cinema playing themselves, in a format that mixes procedural and episodic narratives with an elaborate and stripped-down plot. Driven by actress and screenwriter Martha Nowill and screenwriter Chico Mattoso, this unmissable master class will focus on about the process of creation and development of the French series that conquered the world and has just premiered its fourth and final season.

Speakers

Fanny Herrero

Palestrante

Fanny Herrero

Palestrante

After studying Literature and training at Sciences Po, in Paris, she worked for several years as a theater actress. Since 2007 she has been co-author of various drama and comedy series, and was the creator and showrunner of the Dix Pour Cent series, on the TV channel France 2 and on Netflix, awarded as Melhor Série and Melhor Roteiro by the French Association of Critics of TV Series in 2016 and winner of the Globe de Cristal Award in 2018 and 2019. Melhor Série, among other awards. She is also the founder of Le SAS, a collective of roteiristas dedicated to collaborative writing and the sharing of experiences among its members.

Cuban Eliseo Altunaga, screenwriter, literary author, playwright and great professor at EICTV – Escola International Cinema and Television of Cuba, presents its vision elaborated from the relationship between structure and character in writing and cinematographic reporting. After the master class and straight from Havana, Eliseo will talk and answer questions from the public.

What has the national experience been like in the formation of plural classrooms and the construction of diverse narratives? Let’s go analyze successful Brazilian initiatives in order to understand which paradigms still need to be overcome for the creation of counter-hegemonic narratives.

Speakers

Thays Berbe

Palestrante

Thays Berbe

Palestrante

Among other projects she has written and directed, she was the screenwriter for the first and second seasons of the HBO comedy series Todxs Nós, created by Vera Egito, Daniel Ribeiro and Heitor Dhalia. She was part of the writing teams for the Netflix fiction series Sintonia, created by Kondzilla and produced by Los Bragas; and Nosso Mundo Zoo, produced by Discovery Kids, produced by Boutique Filmes. She is the screenwriter for the series As Five, created by Cao Hamburguer for Rede Globo, and is also one of the writers of the short story anthology “Não Pretendia Criar Discórdia”, published by Editora Giostri.

Esmir Filho

Palestrante

Esmir Filho

Palestrante

Director and screenwriter, he co-wrote the internet hit Tapa na Pantera, which has accumulated more than 10 million views on YouTube. He wrote and directed the short films Alguma Coisa Assim (2006) and Saliva (2007), both selected for the Critics’ Week at the Cannes Film Festival; and the feature films Os Famosos and Os Duendes da Morte (2009), selected for the festivals in Rio, Havana, Valdivia and Guadalajara; and the Brazil-Germany co-production Alguma Coisa Assim (2018). In 2020, he released the series Boca a Boca on Netflix. He is currently preparing to release Verlust, his third feature film.

Maíra Oliveira

Palestrante

Maíra Oliveira

Palestrante

Maíra Oliveira is a writer, playwright and screenwriter with experience in developing series and feature films at Turner, Canal Brasil, GloboPlay, Canal Futura and Amazon Prime. Author of the books “Mari, a sementinha” (Ed Nandyala, 2018/Children’s), “Vértice: escritas negras” (Ed. Malê, 2019/Short Stories), “Favela em mim” (Ed Oriki, 2019/poetry), “Narrativas Negras” (Ed. Vôo, 2020/illustrated biographies), and of the theater shows “Yabá: Mulheres Negras” (2020, Directed by Luiza Loroza and Rodrigo França) and “Duas Fridas” (2020, Directed by Gizelly de Paula, Orientation by Ana Kfouri). In 2019, she directed and wrote her first film, “Encruza”, selected for the 12th Zózimo Bulbul Black Cinema Meeting – Brazil, Africa and the Caribbean, among other exhibitions and festivals, available on SPcinePlay. Educator (UERJ), postgraduate in Literature (PUC), consultant and judge of festivals and screenwriting laboratories such as Cabíria, Frapa, FLUP, among others. She is currently the head screenwriter at Disney+, in addition to working on the development of feature films for Amazon Prime and Netflix. President of the Brazilian Association of Screenwriters (ABRA).

Three highly experienced editors, who participate in 3 Puertos Cine – Montagem, reflect on the possible constructions in editing based on the primary elements of cinematographic language: the editing that builds the meaning of the film and the story in time. The three professionals speak from the perspective of their own work and work as assembly advisors. 

Speakers

Fernando Epstein

Tutor

Fernando Epstein

Tutor

Film producer, editor and teacher since 2000. At Control Z Films, he worked as a producer and editor on 25 Watts (2011) and Whisky (2004), both directed by Juan Pablo Rebella and Pablo Stoll. He recently produced Monos (2019), by Alejandro Landes, and is currently co-producing and editing Narciso, by Marcelo Martinessi.

Karen Akerman

Tutor

Karen Akerman

Tutor

Karen Akerman works across a wide range of audiovisual genres and formats – fiction and documentary, narrative and experimental cinema, feature films, series and short films – primarily as an editor, but also as a director, producer, consultant and teacher. Currently, she is editing the films Nova Eden, directed and produced by Aly Muritiba; and Raiou Liberdade, directed by Joana Pimenta and produced by Adirley Queirós; and is preparing to co-direct her first fiction feature film, Zumbido, with Miguel Seabra Lopes.

Soledad Salfate

Tutor

Soledad Salfate

Tutor

She has been an editor of feature films and TV series since 2005. She has edited films such as Machuca (2014), by Andrés Wood; Play (2005), by Alicia Scherson; Bonsai (2011), by Cristián Jiménez; Matar a un Hombre (2014), by Alejandro Fernández Almendras; Rara (2015), by Pepa San Martín; Gloria (2013) and Gloria Bell (2018), by Sebastián Lelio; and Una Mujer Fantástica (2017), winner of the Oscar for Best Foreign Language Film. She has recently worked on projects throughout South America. She is also a professor at the School of Cinema at the University of Chile.

Erick González

Comissão de Seleção | Coordenador | Palestrante

Erick González

Comissão de Seleção | Coordenador | Palestrante

Director of Australab, a platform that, among other initiatives, includes 3 Puertos Cine, in addition to developing actions to reflect on the circulation of independent cinema, such as the Industry Academy Chile-Locarno. For seven years, he was the programming director of the Toulouse Latin American Film Festival and a member of the selection committee of Cine en Construcción for the Toulouse and San Sebastián editions. He was also a programmer at FIC-Valdivia and, in addition, is a project delegate at the Center for Cinema and Creation, a space for promoting independent cinema in Chile.

Non-scripted formats, ranging from realities to game shows, offer content that seems “so spontaneous as life itself.” With lower production costs and strong appeal as a popular entertainment product, have become especially attractive to the market. After all, what about the screenwriter part? Who writes that what do you see?

Speakers

Ana Abreu

Palestrante

Ana Abreu

Palestrante

Screenwriter and screenwriting teacher, she has worked on series such as Mestre do Sabor, Perto do Fogo, Boas Vindas, Que Marravilha, Fazendo a Festa, Socorro, Meu Filho Come Mal, Histórias de Adoção and Eu Sou Assim, nominated for an international Emmy in the category of Best Documentary Series. She was artistic and content coordinator for GNT and content producer for TV Globo, as well as an external reviewer for Ancine. She teaches screenwriting for non-fiction series.

Claudio Minoru Yosida

Palestrante

Claudio Minoru Yosida

Palestrante

He graduated in Cinema from the University of São Paulo in 1992. Among his main works are the scripts for the feature films De Passagem (2003), Os XII Trabalhos (2006) and Mare Nostrum (2018), by Ricardo Elias; and for series and TV programs such as MasterChef, MasterChef Profissionais, MasterChef – A Revanche, Made in Japan, Bugados, Politically Incorrect, Parque Patati Patatá, Brilhante F.C., Brasil Ciência, Globo Ecologia and Telecurso de Espanhol.

Elisio Lopes Jr.

Palestrante

Elisio Lopes Jr.

Palestrante

He works in theater, television and cinema. He has produced over 30 plays in Brazil. His latest play was written and directed by Dona Ivone Lara – Um sorriso negro. He has three published books: “Carne Fraca”, “Trilogia da Noite” and the most recent, “Monocontos”, released this year by Malê. He wrote the scripts for TV shows such as Esquenta (Rede Globo), Aglomerado (TV Cufa/TV Brasil) and Espelho (Canal Brasil), and is the first black final writer for open TV in Brazil, writing the final script for the show Lazinho com você (Rede Globo). He has directed DVDs and shows by important Brazilian popular music artists such as Ilê Ayê, Carlinhos Brown, Saulo, Margareth Menezes, Mariene de Castro, Ivete Sangalo, among others. He is one of the writers of the feature film Medida Provisória, which won the Best Screenplay award at the Memphis Film Festival in the US. The film is scheduled to premiere in Brazil in November 2021. He is currently a screenwriter hired by Rede Globo where he develops short and long-term fiction projects.

Content booster MediaXchange presents some of its programs and gives a sample of its work. Based in London and Los Angeles, MediaXchange is responsible for bringing together great creators around the world throughout, and organized a Master Class from Mark Goffman, executive producer and screenwriter of the Netflix hit The Umbrella Academy, disciple of Aaron Sorkin, screenwriter for series such as The West Wing, Studio 60 on the Sunset Strip, and showrunner of Sleepy Hollow and Bull.

Speakers

Mark Goffman

Palestrante

Mark Goffman

Palestrante

The Hollywood Reporter named Goffman one of the 50 Most Influential Television Writers. He has written over 200 hours of television scripts and has been nominated for two Writers Guild Awards. He began his career on the writing staff of The West Wing, for which he wrote for several seasons. He then headed the writing room for Aaron Sorkin’s series Studio 60 on the Sunset Strip. Goffman served as showrunner on the FOX series Sleepy Hollow, showrunner and executive producer on the CBS series Bull, and is an executive producer on the Netflix series The Umbrella Academy.

Gustavo Gontijo

Palestrante

Gustavo Gontijo

Palestrante

Executive Development Producer at O2 Filmes since January 2021, Gustavo Gontijo has a long career in the entertainment and development area. Before that, he worked at Globo (the largest content producer in Latin America) since 2000 when he was hired as an author/screenwriter. In 2014, with the creation of the Weekly Drama division dedicated to drama and comedy series, he was named its Content Manager. During his tenure, he helped conceive and develop hits such as the medical drama “Sob Pressão”, the adventure “Ilha de Ferro”, the drama about education “Segunda Chamada”, Brazil’s first big-budget supernatural drama “Supermax” (and its spin-off in Spanish), the comedy “Mister Brau”, the Emmy-nominated “All the Women in the World” and the best series of the year 2017, according to MIPDramas in Cannes, “Carcereiros”, in addition to twenty other programs, in a total of more than 30 seasons aired. Gustavo was also responsible for the international expansion of these programs, taking Globo series, for the first time, to the biggest international festivals of the format, such as Berlinale, TIFF, SXSW, Canneseries, Seriesfest and many others. Gustavo was also behind the conception and implementation of Casa dos Roteiristas, a physical space with 13 script rooms dedicated exclusively to the development, writing and production of series, with the greatest Brazilian screenwriters, such as Jorge Furtado, Bráulio Mantovani, George Moura, Cláudio Paiva, Marçal & Bonassi, Mauro Wilson, Lucas Paraizo, Antonio Prata and many others. From 2019 to 2020, he was content manager at Globo Filmes with a main focus on feature films.

The master class will focus on the practice of audience design, which can be defined as “the process of create audience awareness and engagement towards films from the beginning of the development stage through a multi-angled and narrative-based approach.” Acting Audience Designer, Benjamin Cölle will present theoretical bases and recent film projects that are exemplary of the practice of audience design. Back for screenwriters, directors, producers, distributors and all cinema professionals who are willing to dive together into exploring their stories and potential audiences for their projects, through a collaborative and iterative process from the beginning of development.

Speakers

Benjamin Cölle 

Palestrante | Tutor

Benjamin Cölle 

Palestrante | Tutor

With a degree in Cultural Studies from Humboldt University Berlin and Goldsmiths University of London, he is an experienced film and cross-media producer and former participant of Pixel Lab and Torino Film Lab. He currently works as a lecturer and researcher at Film University Babelsberg Konrad Wolf in Potsdam, Germany, and as a trainer and consultant for the Audience Design program at TorinoFilmLab. He also consults on independent films, series and digital media projects in the areas of story development and audience design.

Sarah Mosses, founder and CEO of Together Films, offers an introduction to Impact Distribution, aimed at professionals interested in reaching new audiences and who are in the process of developing strategies to launch of your projects. The world of distribution has changed, and COVID-19 has brought with it the opportunity to development of new and innovative models. As a data collection and distribution company, Together Films is at the forefront of developing unique distribution models and engaging audiences in debates on important topics. In the lecture, unique ways of promoting this engagement and laid the foundations for building impact distribution strategies for each project.

(With simultaneous translation)

Speakers

Sarah Mosses

Palestrante

Sarah Mosses

Palestrante

CEO of Together Films, a London-based marketing, distribution and data company that works with filmmakers to create Impact Distribution Campaigns to increase the social impact, audience reach and revenue potential of their productions. The company has worked on titles including Waad Al-Kateab and Edward Watts’ Oscar-nominated documentary For Sama (2019, Channel Four), and consults on around 200 different films each year. Sarah has contributed to a number of film funds and labs over the past 10 years on data-driven audience engagement and distribution.

An important portion of the fiction currently produced in Brazil features bodies, spaces and accents of different states and regions of Brazil, and makes use of a hybrid language that is increasingly recurrent in cinema, in which the Fiction and documentary often mix in the narrative. Along this path, more and more screenwriters and Filmmakers move between the two genres. What are the criteria adopted by filmmakers when choosing the documentary or fictional record?

Speakers

Flavia Castro

Palestrante

Flavia Castro

Palestrante

Screenwriter and director, she alternates between fiction and documentary work. She wrote, directed and edited the documentary Diário de Uma Busca (2011), winner of dozens of awards in Brazil and abroad. Her first feature-length fiction film, Deslembro (2018), had its world premiere in the official selection at the Venice Film Festival and won several awards from critics and audiences. As a screenwriter, she has worked with directors Eduardo Escorel, Vicente Amorim, Vinicius Reis and Roberto Berliner, among others. She is currently developing the fiction script Saga dos Pequenos Gestos, inspired by the biographical book “Revolucionário e Gay – A Extraordinary Life of Herbert Daniel”, by James Green.

Gabriel Martins

Palestrante | Tutor

Gabriel Martins

Palestrante | Tutor

Born in Belo Horizonte and living in the outskirts of Contagem, he graduated from the Escola Livre de Cinema/BH and in Social Communication with a degree in Cinema and Video, in 2010, from the UNA University Center. He is a founding partner of the production company Filmes de Plástico, together with André Novais Oliveira, Maurílio Martins and Thiago Macêdo Correia. Among his main works as a director are the short films “Rapsódia para o Homem Negro”, “NADA” and the feature film “No Coração do Mundo” (co-directed by Maurilio Martins).

Argentine filmmaker, screenwriter and producer Albertina Carri presents some of her current reflections on the poetics of bodies in cinema, at a time when our bodies represent vital potentialities. From the understanding cinema as something organic, the director of the award-winning films Las Hijas del Fuego, Los Rubios, La Rabia, among others, makes reference to concepts from philosophy, psychoanalysis and image analysis to investigate some questions that philosophy has been asking since pre-Socratic times, and psychology since its start. What is a body? What can a body do? The answers are varied, according to the epistemological system used to formulate the answer. Albertina proposes an approach to Spinoza’s, which she will use to think about the possibilities of the body and cinema as the becoming of the sacred from our purely profane nature.

Speakers

Albertina Carri

Tutor

Albertina Carri

Tutor

Albertina Carri is a pivotal figure in contemporary Latin American cinema. She is known for her versatility in the genres and materials she explores. She has directed the films No quiero volver a casa, Los rubios, Géminis, La rabia, Cuatreros, Las hijas del fuego, and ¡Caigan las rosas blancas!, which have been screened at the Cannes, Berlin, Toronto, Venice, San Sebastián, and Rotterdam film festivals, among many others. Carri’s work evolves as she develops her themes, resources, and methods. She reorganizes film footage, immersing herself in the power of sound and movement in audiovisual installations such as Cine puro, Punto impropio, and Animales puros. She also incorporates writing into her work, both poetry and prose. She has published Los rubios: Cartografía de una película, Retratos ciegos, Lo que aprendí de las bestias, Las poseas, and Cine vivo.

Éri Sarmet

Palestrante

Éri Sarmet

Palestrante

Screenwriter, director and researcher, he is a PhD candidate in Audiovisual Media and Processes at the University of São Paulo, with research on the writing of sensations in scripts. He has a Master’s degree in Communication from the Fluminense Federal University and is the author of a dissertation and articles on Latin American post-porn. He was a screenwriter for the series Transviar; and a researcher and script assistant for the feature film Medusa, by Anita Rocha da Silveira, currently in post-production. He directed and wrote the scripts for the short films Latifúndio (2017) and the unreleased Uma Paciência Selvagem me Trouxe até Aqui.

Based on their experiences between fiction and documentary, Marcelo Gomes (screenwriter and director) and Ernesto Soto (producer) shares a review of the processes and narrative devices that consolidate a history. From the particularities of his first works, such as I travel because I need to, I return because I love you, and recently from the documentary I’m saving myself for when carnival arrives, these filmmakers work with all the mechanisms – from writing to the editing table – and shape the film from a unique perspective.

Speakers

Marcelo Gomes

Tutor | Palestrante

Marcelo Gomes

Tutor | Palestrante

Director and screenwriter, his first feature film, Cinema, Aspirins and Vultures (2005), won an award at the Un Certain Regard section of the Cannes Film Festival. In partnership with Karim Aïnouz, he co-directed I Travel Because I Need to and I Come Back Because I Love You (2009), which premiered at the Venice Film Festival, and co-directed with Cao Guimarães The Man of the Crowds (2014), which premiered at the Berlin Film Festival in 2014. His next film, Joaquim (2017), was selected for the competitive section of the Berlin Film Festival in 2017. His latest film, Estou me Guardando pra Quando o Carnaval Chegar (2019), won the Critics’ Prize at É Tudo Verdade.

Ernesto Soto

Palestrante

Ernesto Soto

Palestrante

A founding partner of Misti Filmes, a production company based in São Paulo, he is the executive producer of the feature films Joaquim (2017), by Marcelo Gomes, a Brazil/Portugal co-production selected for the official competition at the Berlin Festival, and of the animated feature film Perlimps, by Alê Abreu, currently in production; and also co-producer of the documentary feature film Estou me Guardando pra Quando o Carnaval Chegar (2019), by Marcelo Gomes, selected for the Panorama section at the Berlin Festival. He is currently in post-production with the fiction feature film Paloma, also by Marcelo Gomes.

Paula Astorga

Tutor | Selection Committee

Paula Astorga

Tutor | Selection Committee

An international consultant for audiovisual projects in development and exhibition, she received the title of Knight of the Order of Arts and Letters from the French government in 2012 for her work in audiovisual culture. Her recent productions include Trigal (Dir. Anabel Caso, 2022) and the documentary Me niego rotundamente (Dir. Nina Wara Carrasco, 2025). She is the director and founder of the Audiences of the Future Seminar and the Circo 2.12 Documentation Center.

The job of a festival programmer is often seen as something every film buff would love to do – discover films, create an identity for an event to present itself to a certain audience – and festivals They are definitely a space for a plurality of voices and artistic freedom. There are, however, many challenges in a programmer’s day-to-day life, not only with regard to the nature of the work itself (since, Being often a job in the freelance category, it needs to be combined with other jobs within the company itself. industry), but also by the effort to find new films and points of view, with the task of concatenating important issues such as representation, innovative forms of filming, new technologies, etc. Anne Delseth, Susana Rodrigues and Cecilia Barrionuevo, three women with extensive experience in this field, will talk about these challenges. The professionals are programmers of festivals such as Cannes Directors’ Fortnight, Rotterdam and Mar del Plata Festival, among others.

Speakers

Susana Santos Rodrigues

Palestrante

Susana Santos Rodrigues

Palestrante

Portuguese, born in Zimbabwe, she is a film curator, project analyst, distributor, producer, and currently works as a scout for Latin American productions for the Rotterdam International Film Festival, in addition to being a member of the selection committee of the Hubert Bals Fund and the reading committee of the Doha Film Institute. Previously, she worked in the programming of the Karlovy Vary International Film Festival and Cinéma du Réel. In 2013, she co-founded the Argentine distribution and production company Vaivem, which released Pedro Costa’s Cavalo Dinheiro (2014) and Jem Cohen’s Museum Hours (2012), among other titles.

Cecilia Barrionuevo

Palestrante

Cecilia Barrionuevo

Palestrante

With a degree in Communication and a master’s degree in Creative Documentary, she is the artistic director of the Mar del Plata International Film Festival and has been part of the festival’s programming team since 2010. She has worked on the programming of the Neighboring Scenes: New Latin American Cinema, Film Society Lincoln Center, in the USA; Documenta Madrid – International Documentary Film Festival, in Spain; and Antofacine, in Chile. She has also served as a juror at several international film festivals and is co-editor of the bilingual collection Las Naves Cine.

Anne Delseth

Palestrante

Anne Delseth

Palestrante

From 2008 to 2011, she worked for the Fribourg International Film Festival, where she became deputy director. She has been part of the selection team for the Directors’ Fortnight at the Cannes Film Festival since 2012, and also joined the selection team for Locarno for the 2018 edition. She was in charge of the HEAD/ECAL Master’s in Film Studies in Lausanne, Switzerland, where she still runs an arthouse cinema. She is currently a programmer for Angers Premier Plans and a consultant for the Neuchâtel International Fantastic Film Festival in Switzerland and the Ulaanbaatar Film Festival in Mongolia.

In recent years, Brazilian cinema has suffered the consequences of structural changes in policies aimed at the audiovisual industry in Brazil while, paradoxically, the country’s production has been celebrated around the world at major festivals and markets. In this scenario in all main class entities Brazilian audiovisual professionals fight to prevent an even greater crisis from being established in the sector, we invite the exhibitor Adhemar Oliveira, producer Sara Silveira and filmmaker Eryk Rocha to talk about Brazilian cinema today, moderated by producer Ivan Melo. What are the prospects for Brazilian cinema today in 2020? As face this moment of crisis? Who is interested in Brazilian cinema? Who are the cinema audiences? Brazilian?

Speakers

Adhemar Oliveira

Palestrante

Adhemar Oliveira

Palestrante

He has been dedicated to showing films for over 30 years, with a special focus on Brazilian and independent cinema. He has created several projects and cultural initiatives to encourage the development of new audiences and the presentation of new formats, including Escola no Cinema, Curta Petrobras às Seis, Clube do Professor, Sessão Popular, Sessão Latina, Clube 3ª Idade and Clube Jovem. He is currently the programming director of Espaço Petrobras de Cinema, responsible for the programming of 60 theaters. He is also a distributor of independent and Brazilian films through Espaço Filmes and Arteplex Filmes.

Eryk Rocha

Palestrante

Eryk Rocha

Palestrante

He graduated in Cinema from EICTV, in Cuba, and has had his films selected at prestigious national and international festivals, such as Cannes, Sundance, New York, Montevideo, Guadalajara, Buenos Aires, Marseille and Amsterdam. Cinema Novo (2016), his seventh feature film, received the L’Oeil d’Or award for Best Documentary at the Cannes Film Festival. In 2019, he released the fiction film Breve Miragem de Som, a Brazil/France/Argentina co-production that won the awards for Best Actor, Best Editing and Best Cinematography at the Rio Festival and the Silvestre Award for Best Feature Film at Indie Lisboa.

Every exhibitor around the world is dealing with the fallout from COVID-19 and the prevalence of major studios quickly pushing back their release dates. As distributors recalibrate looking at your online and digital businesses, what can be done to attract consumers to niche platforms and how to guarantee the survival of arthouse cinema? During the table, Kate Gerova and Lee Shelton, B2C marketers at UK venue chain and platform Curzon, will explore the journey of digital consumer, focusing on the application of design and use of data formatted according to the user, to achieve product longevity. The idea of ​​strategic partnerships with exhibitors and influencers who can reach an audience eager for new content, as well as the use of resources such as CRM (Customer Relationship Management), targeted advertising, adwords and remarketing for ensure consumer loyalty.

(With simultaneous translation)

Speakers

Kate Gerova

Palestrante

Kate Gerova

Palestrante

Her current focus is on empowering small businesses with a focus on brand identity and digital transformation, including loyalty programs and leadership training. Previously, she served as Marketing and Brand Director at Curzon Cinemas, combining her love of arthouse films with branding and creative strategy; as Creative Director at Birds Eye View, an organization promoting gender equality in film; and launching Filmonomics, a film business strategy training program for women in the industry. From 2004 to 2013, she worked at Soda Pictures as Head of Distribution.

Lee Shelton

Palestrante

Lee Shelton

Palestrante

A commercially-focused digital strategist with over ten years’ experience driving change across dynamic e-commerce, technology and entertainment brands including Curzon, EMI and Eventim. He has both client and agency experience and specialises in data-driven audience development. He led the digital team at Curzon from 2017-2019 before moving into consultancy. Lee divides his time between the film industry and his passion for sustainable online retail, running subscription service Zed Bees, which he founded with his wife in 2019.

Contemporary cinema has proposed increasingly diverse production formats. These new proposals for work are the result of a close dialogue between the teams for each film. The photography direction is fundamental aspect of this invention, being a structuring dialogue between the needs of management and production. This table will debate from the different perspectives of members of the Dafb collective, who work on fronts of cinematography in audiovisual, the creative and technical reading of a script that can guide a project in decision-making even before pre-production. Together, they will talk about how, from the project, foresee the specific needs of each film with regard to the training of camera teams, electrical and machinery, in addition to predicting, for each department, what types of equipment are favorable, disposable or indispensable, and after the set, until post. 

Speakers

Andrea Capella

Palestrante

Andrea Capella

Palestrante

She studied Cinema with a specialization in Cinematography at the Universidade Federal Fluminense, where she later taught from 2004 to 2006. She photographed feature films such as Guerra de Algodão, by Marilia Hughes and Claudio Marques, Corpo Elétrico, by Marcelo Caetano, and A Alegria, by Felipe Bragança and Marina Meliande, selected for the Directors’ Fortnight at the Cannes Film Festival, as well as twenty short films. As a visual artist, she develops work in various media, such as photography, video and drawing, and collaborates with artists from theater, visual arts and dance.

Bárbara Lopes

Palestrante

Bárbara Lopes

Palestrante

Electrician and member of the DAFB Collective, she has a degree in Audiovisual from the Senac University Center and in Electrical Engineering for the Audiovisual Industry from Senai. She is currently studying for a specialization in Lighting and Cinematography at the Bucareste Ateliê de Cinema. In the market, she works as an electrical assistant and electrician in advertisements, series, feature films and short films.

Flora Dias

Direção | Palestrante

Flora Dias

Direção | Palestrante

Director and cinematographer, graduated in Cinema from the Universidade Federal Fluminense and the École Nationale Louis Lumière, in France. As a photographer, she has been developing her work in short and feature films since 2009, such as Sinfonia da Necrópole (2014) and O Duplo (2012), by Juliana Rojas, and Ontem Havia Coisas Estranhas no Céu (2019), by Bruno Risas, among many others. As a director, she made four short films and the feature film O Sol nos Meus Olhos (2013), which premiered at the Mar del Plata International Film Festival. She is currently preparing her second feature film, O Estranho, with which she participated in BrLab in 2019.

Julia Zakia

Produção

Julia Zakia

Produção

She graduated in Cinema with an emphasis on directing and photography from the University of São Paulo, and is currently pursuing a master’s degree in Audiovisual Media and Processes from the same university. She is the cinematographer for several short films, feature films and series, including Guigo Offline (2017), by René Guerra, A Boneca e o Silêncio (2015), by Carol Rodrigues, and Transando com Laerte (2015), by Claudia Priscilla. As a director, she has made six short films and the feature film Rio Cigano (2013). She is currently finishing her second feature film as a director, Citrotoxic. A member of the DAFB, she teaches and participates in workshops and training courses.

Luísa Cavanagh

Palestrante

Luísa Cavanagh

Palestrante

She studied photography in Argentina and began his professional career in 2001 as a camera assistant. From 2006 onwards she became a digital colorist. She has collaborated on projects by Pablo Trapero, Lucrecia Martel, Laís Bodanzky, Marcelo Gomes, Matías Piñeiro and Maria Aché, in critically acclaimed film projects such as Relatos Salvajes (2014), nominated for an Oscar and the Palme D’Or, and Muere Monstro Muere (2018), selected for the Un Certain Regard section of the Cannes Film Festival, as well as series such as 3%, Coisa Mais Linda and Todxs. She currently heads the color team at Quanta Post.

One of the most challenging themes for the independent film industry over the last decade has been the digital environment. With the arrival and consolidation of the internet, streaming platforms were created and quickly have become industry giants, not only as exhibitors of films and series but also as creators of content. At the same time, piracy quickly became a window for users looking for content that you cannot find in cinemas or video stores. If there are names like Amazon and Netflix, what if have spread and are commonly seen as synonymous with VOD, there are also platforms such as MUBI, which has been on the market for over ten years. market in the endeavor to open space for arthouse cinema, and more recently other solutions aimed at the niche audience, such as Kabinett, Spamflix and many others.

Speakers

Bobby Allen

Palestrante

Bobby Allen

Palestrante

Based at MUBI’s global headquarters in London, Bobby Allen is the company’s Senior Vice President of Production and as such is responsible for the development and production of MUBI’s films worldwide. With over 20 years in the global film and entertainment industry, prior to MUBI, Bobby was an independent film producer and Vice President of Sales and Acquisitions at Celluloid Dreams, Head of Production at MTV Films Europe and Head of Acquisitions at Film Four. He has also held executive roles in international film sales and acquisitions at companies such as Lionsgate and Mayfair Entertainment.

Markus Duffner

Palestrante

Markus Duffner

Palestrante

A graduate in Film, TV and Multimedia Production, he has worked in the film industry since 2005. He currently works as an international advertising representative for the French specialist magazine “Le Film Français”, at the Locarno Film Festival as project manager for the work-in-progress First Look section, still in the development phase, and as a programmer at the Montecarlo Comedy Film Festival. In 2018, he launched Spamflix, a global TVOD distribution platform for cutting-edge and niche cult films with a range of interactive activities such as quizzes and games.

Eduardo Costantini

Palestrante

Eduardo Costantini

Palestrante

Founder of Kabinett, former executive director of the MALBA Museum in Argentina, and co-founder of MUBI. In addition to his own artistic activity as a musician, photographer and filmmaker, he is an award-winning film producer, entrepreneur and climate awareness activist. In his more than twenty years of experience, he has been involved in projects by renowned artists in a variety of fields, including Belgian filmmaker Chantal Akerman, Iranian cinema master Abbas Kiarostami, Brazilian Cinema Novo founder Glauber Rocha, Alejandro Jodorowsky, David Lynch and Guillermo Arriaga.

Represented by its CEO and co-founder Sarah Calderón, The Film Agency shares its unique perspective about the digital transition that the film industry is going through. Looking at tools concrete experiences, experiences and recent case studies of the Marché du Film Online and various campaigns to promote hybrid festivals, current best practices will be highlighted. Additionally, you will be presented key examples of virtual movie theaters, physical theaters with social distancing measures, and others distribution and promotion trends. Through a better understanding of the complexity of current times, it will be possible to better shape the immediate future.

Speakers

Sarah Calderón

Tutor | Palestrante

Sarah Calderón

Tutor | Palestrante

Co-founder and CEO of The Film Agency, a marketing and services consultancy specializing in the film industry that serves more than 50 clients in Spain and abroad, including the Venice Biennale, Cannes Film Festival, Gaumont, Netflix and The Match Factory. She has more than fifteen years of professional experience in the audiovisual sector in different positions, including Head of International Sales at Coproduction Office in Paris and Distribution Coordinator at Karma Films in Madrid. In addition to The Film Agency, she also works as Co-Director of Marketing Studies and tutor at EAVE.